Wednesday 7 June 2023

Alternate Best Actor 2009: Michael Stuhlbarg in A Serious Man

Michael Stuhlbarg did not receive an Oscar nomination for portraying Lawrence "Larry" Gopnick in A Serious Man.

A Serious Man follows a Jewish professor in Minnesota dealing with several strains all at once. 

A Serious Man very much is the spiritual successor to Barton Fink, in terms of the Coen Brothers using a very clearly established Jewish protagonist and dealing with a very cerebral story. While there are of course many differences between these stories, most notably perhaps the setting from the theoretical glitz and glamor of Hollywood against the mundanity of the suburbs in the 60s. The protagonists of Larry and Barton though are similar men in terms of trying to figure out what is going on around them however the essential difference is Barton is doing so through creative storytelling whereas Larry is dealing with Math. And in that sense there lies the pivotal difference in these stories of a kind of need but failure to find answers, and we see this in the performance of Michael Stuhlbarg in his breakout role. Stulhbarg begins the film very much as an average man of any sort, even if in a specific job and a specific religion. It's very much an inviting performance, more so than John Turturro as the extremely insecure Barton, as Stuhlbarg's work doesn't seek to separate Larry from the viewer, even if some traits Larry the viewer may not share. We see him go about his job as a professor and Stuhlbarg brings an unfussy likability to the part. He's not trying to charm anyone, but he's charming enough as just an average guy you might run into. There are no extra mannerisms, no obvious fixation, just a man going about his day and teaching about a dead cat. 

The troubles of Larry seem to almost immediately begin as a foreign student asks Larry for a higher grade, despite not successfully completing the work. Stuhlbarg's performance in this scene really accentuates Larry as fair enough in accentuating the why for the low grade and just trying to explain that anything more would be unfair. He's not at all pompous or pushy about it, he's just trying to explain his position as clearly as he can, albeit if slightly awkward just from the situation. And Stuhlbarg brings really what is likability just through the lack of pretension about Larry in this moment and emphasis the man trying to deal with the situation as clearly as he can. Even when answering a cryptic call from one of the most aggravating cinematic villains of Sy Abelman (Fred Melamed), Stuhlbarg's reaction is just of slight confusion before discovering the student left a high monetary bribe, which Stuhlbarg's immediate reaction of distress about sets up Larry as a pretty straightforward man. Although these first couple of scenes might seem small, they are important in that Stuhlbarg shows us the content enough man before what is going to befall him. The man who is easy enough to sympathize if not empathize with, creates a complete lack of barriers again, regardless if one lives in Minnesota or is of the Jewish faith. One can easily like Larry as Stuhlbarg establishing him as an average if technically specific, man. 

Although this is when the crumbling begins and Stuhlbarg's performance begins as a hilarious straight-man performance, while hilarious, also never less than very human as we see him deal with his family. Some matters do seem minor, whether it is his children fighting over their mutual pilfering of Larry's money for various ends, his son's constant demand that his dad fixes the tv antenna so that way he'll be able to watch F-Troop, or his older unemployed brother (Richard Kind) always seemingly taking up extra room in various parts of the house  These seemingly minor, though they do add up, where Stuhlbarg's has a great quiet sense of just taking it all in with every reaction, though initially just with kind of a slightly longer breath goes about taking care of what he can and exist around with what he has to. What is less easy to deal with is as his wife announces to him that she wants a divorce that way she can marry Sy Abelman. Stuhlbarg's reaction here is more fundamental in his disbelief and his trying to keep it calm yet just exuding sudden anxiety. Stuhlbarg's wonderful in his ability to kind of create the insanity of being sane at the moment, of trying to be reasonable in what is not all that reasonable of a situation. Stuhlbarg shows the man was genuinely taken aback by it all and what is humorous, though also still very easy to emphasize, is the modesty of the reaction, which isn't unemotional, rather this sort of societal shield of not getting upset, because that is what is expected of him. 

Unfortunately for poor Larry, those troubles only add on top of each other, and in the first meeting between Larry, his wife, and Sy, we get an extra dose of torture. As not only are they essentially flaunting the affair in front of his face, though they both are so good at ensuring that nothing inappropriate has gone on, they are also almost patronizing as they make suggestions for Larry including asking Larry to sleep at a local motel rather than his own home. Stuhlbarg's exceptional in this scene because I love how with everything Sy says, Stuhlbarg's delivery is of true befuddlement in the face of such a man, who can be so courteous while in the act of cuckolding him, though with his wife Stuhlbarg begins to display the first sharp edges in Larry, such as the pent up frustration when he insists he'll see a lawyer as she's been demanding. A pivotal, and brilliant moment, in Stuhlbarg's performance as he suggests that his wife simply move in with Sy, which Stuhlbarg delivers with the perfect modest "well obvious" type delivery, which the reaction of the two is complete horror at the suggestion, which Stuhlbarg's reaction of Larry's own disbelief is pure gold. Stuhlbarg shows really the armor of the serious man falls away as he tries to deal with what are these personal attacks, that are presented with such pleasantries. 

Larry's life though only continues to spiral and Stuhlbarg is our navigator through every moment. Some are minor in their subdued comedy, like his befuddlement in observing his aggressively AHHHmerican neighbors who are leaning on his land and constantly playing the same game of catch over and over again. His quietly lusty glances towards another neighbor who sunbathes in the nude and is fairly welcoming when Larry perhaps gives in to some lesser impulses of hers. Or the continued behavior of his brother, who is first caught gambling, then later soliciting a man, and in every and each of these Stuhlbarg quietly finds just the right reaction to amplify each moment as this man just taking it all in as he can. What he's less able to just take in is the constant more extreme barrage upon him, with his financial strain as he must use lawyers or even more so his inability to find any help for his concerns by talking to his local rabbis, two who give him only more uncertainty, and one who refuses to speak with him. Stuhlbarg is exceptional in just taking it all in and becoming this ball of frustration that slowly becomes more and more tense. I love especially his conversation with a pushy record scam company, where Stuhlbarg launches in both confusion and emotional desperation after he attempts to talk about the situation after having been in a car accident. Stuhlbarg begins to let more and more out in his pent frustration, and from where we start there is a real punch to each and everyone, both comedic and emotional as Larry begins to crumble. 

And what is this story if not of uncertainty, which Stuhlbarg presents as a man trying and often failing to reason with life. And unlike Barton from Coens' previous venture into the life of the mind, we have a man who calculates rather than creates and it is hard to make an equation work with these variables. And all this is very funny to see the reaction to this madness, to only become more frustrated by the lack of answers and continued insanity, however, what I love about Barton Fink and this film, is as much as the men are going through a ringer, there is never a true detachment in this process. This is essential and brought forth most strongly by the central performances. Throughout the film there are moments where we do get maybe a little bit of solace, or just maybe some comfort in humanity, when Larry is truly experiencing family, and not as some hostile group. Take the moment where he talks to his sister, where Stuhlbarg brings a quiet tenderness in this scene of trying to figure it out. Or the, although it's a dream, scene where he sends his brother off to Canada, Stuhlbarg suggests some honest comfort in this familial connection. Most of all though we have the near-climactic Bar Mitzvah for his son, where Stuhlbarg's reaction is great at the sincerity of the love and joy we do see in Larry as he just can enjoy this brief moment in his life. Stuhlbarg creates an essential heart within it all, to make this a portrait that is in part darkly comic as we just see the building of every woe, but also very much giving an honest life to the human condition of trying to figure out what it all means.

62 comments:

Luke Higham said...

Louis: Did you finish Deadwood.

Any upgrades and are you saving Melamed for a review.

Matt Mustin said...

The thing about this performance is he makes this guy so likeable that the movie honestly becomes pretty hard to watch, because it's just life shitting on him constantly. At least that's how I felt. I should probably re-watch this, though, even though I found it pretty depressing the first time.

Robert MacFarlane said...

His scenes with Arkin are my favorites from him. They have such good chemistry, and Stuhlbarg is a great "funny" crier. Honestly reading the review is making me wonder if I should have him as my personal win.

Ytrewq Wertyq said...

Not the biggest admirer of this movie, since some parts basically felt like an unwarranted torture session of the main character, but Stuhlbarg and Melamed were on point the entire time.

Matt Mustin said...

I mean, the movie is essentially The Book of Job as told by Joel and Ethan Coen, so I understand why everything is piled so heavily on him, but it's still not easy to watch.

Emi Grant said...

LET'S GOOOO. First review and first 5 for Stuhlbarg. This was a satisfying read.

I don't necessarily find the movie hard to watch, but Stuhlbarg's pitch-perfect tone for Larry really makes his whole journey incredibly palpable. You can feel such a gut-punch just from the last phone call he has because of how likable he is.

Louis: Your thoughts on the movie's direction and the following scenes?

- The Goy's Teeth
- The Uncertainty Principle nightmare
- Larry helping Arthur move to Canada
- The ending

Mitchell Murray said...

This has been on my burner list for a while, so maybe I should give it a watch soon.

Also, TV related question for everyone: Thoughts on the "Were you a witness scene" ending from "Columbo" IE Dick Van Dyke's episode "Negative Reaction"? From what I've watched of the series, that sequence has always stuck with me as particularly satisfying and well orchestrated. It would surely be in my top endings of the show (not sure if anything rivals "Any Old Port in a Storm").

Tony Kim said...

I love that you highlighted the moments where he finds "comfort in humanity", Louis. Often it's under-discussed aspects like those that help make a performance really sing.

Your thoughts on Steinbrenner in these deleted scenes from Seinfeld? https://www.youtube.com/watch?v=A8FUgN4xYoc

Matt Mustin said...

Watched Avatar: The Way of Water. I guess I liked it (?) see my Letterboxd for more detail, cause I don't know.

Worthingon-2
Saldana-2
Weaver-3(Despite the RIDICULOUS character she has)
Lang-3
Winslet-2.5
Curtis-2.5
Falco-1.5
Cowell-2
Dalton-2
Champion-2
Clement-1.5(Weird)


Anonymous said...

Louis: Your top 30 Brian Cox acting moments

Luke Higham said...

Louis: On the HBO list, where would Game Of Thrones have ranked if it was only its first 4 seasons.

Ytrewq Wertyq said...

Louis: Thoughts on the trailer for Sympathy for the Devil?

Tony Kim said...

Louis: I'm sure it's been asked before, but since it has presumably changed since then - what are your top 25 favourite TV shows of all time?

Tony Kim said...

Louis: Your thoughts on these Simpsons guest spots?

Michelle Pfeiffer
Winona Ryder
Beverly D'Angelo
James Woods
John Waters
Danny DeVito

8000S said...

Louis: Your thoughts on the direction and screenplay of the film?

Louis Morgan said...

Somewhat a side note, looking back at the info on the film, I forgot that it made over 3 times its budget and that every Coen brother film except The Man Who Wasn't There (which still wasn't a huge flop) made bank, so it really is a shame that we don't get proper Coen Brothers (or singular Coen) theatrical releases on a wide scale since even financially they should. 

Luke:

I included partially watched series, but not incomplete ones that haven't finished their run, as I never finished Westworld (nor will I).

It must be said Melamed's performance is imminently reviewable.

Emi Grant:

The Coen Brothers' direction of the film opens with probably one of my favorite singular bits from that which is the Yiddish prologue, which while connected with the theme of uncertainty, is disparate in terms of the specifics of the sense of place and time. They excel in this remote village from years ago, and you sense this place, as you do the quiet dread when the "Deadman" arrives and interacts with the couple. They are 100% earnest in the creation of the sequence that makes it feel like it could be an entire piece on its own before we enter into Larry's story. Larry's story which their choices I think are essential in that they are both completely tangible in the sense of the mundane or the family, but also highly specified. And I think specific choices are the right ones, where they don't overdo the art direction, instead, there are some brilliant low-key touches in the Gopnick house, the neighborhood, particularly the jolly roger of a slightly oppressive mundanity, and a few extra bits like the extra-sized lecture hall for the dream sequence. The tone they create is very specific, as per Coens, though I think here with this combination between that oppressiveness though with the darkly comic. A lot of moments I love are the moments where the Coens very specifically make us the observer with Larry, like when he witnesses his neighbors constantly playing catch. And other times we are so close in their space that we must stew with him in the situations, like the phone calls which put us into that tension, which can be a turn-off for some viewers, however, I love their ability to bring us into his mental mood. And there are moments where they pull more overt choices, some of which I will get to in a moment, all of which I love. 

Louis Morgan said...

The Goy's teeth are probably my favorite sequence in the film, which the funny thing is the Rabbi's story really is just telling Larry to enjoy life rather than torturing yourself with the unknowable, but is told in a way that only makes the questions all the more penetrating. The use of the "Machine Gun" is perfection in terms of getting the scene this intensity but also this kind of syncopation, where it seems to be driving to something, yet everything is a dead-end and everything seems to lead to another end. Added to that is the delivery by George Wyner, and I love that it never changes from his voice keeps it as a sense of story, and speaks as though the dead-ends might just lead to something. The story itself is fascinating in its specific strangeness of something that must be something because it is so specific yet there is nothing to give an answer to that question. My favorite aspect though is the ending with the Rabbi stopping the story without even the epilogue, as though it shouldn't have mattered, against Larry who is in many ways the audience (perhaps even the audience for No Country For Old Men) demanding clearer answers yet doomed to never have them. 

The Uncertainty principal nightmare is wonderful from the aforementioned set design, but also Larry's whole delivery that the formula makes us certain that none of us have any idea what's going on. The scene though is in a way perhaps certainty, as the claim of Sy and Larry's wife that they weren't cheating on him sexually, Sy bluntly pushes that insecurity at him, as he does appear to reveal his actual hate for Larry, creating certainty in the character, which of course remains uncertain because it is all a dream. 
The escape is an interesting scene as we get Larry creating a scenario as a hero who is using the bribe money for the good purpose of helping his brother start anew away from the law. The scene itself is notable in every other scene Larry's brother is more so the cyst on his own back, who is kind of there and offers just a bit more anxiety than anything else even in the Jolly Rodger. Larry though in this scene shows the love of a brother, and the strength of one at the moment by the act. And his brother finally seems happy as he's paddling away and it seems to be the most heartwarming moment of the film, before flatly making the least heartwarming as both are shot to death by the Ahhhmericans. Reflecting really Larry's own insecurities still coming through even a more hopeful dream. 

The ending I think everyone will have their own interpretation of, which I was taken aback by the first time I watched the film, but now I love it. And for my interpretation, it is kind of a perfect ending, which to me is actually it is an answer to all uncertainty. It is a blunt certainty actually, that if you truly do wrong wrath will destroy you. Larry chooses to finally be certain that it doesn't matter what he does, as he willfully does wrong by changing the grade, therefore, accepting the bribe, at that moment receiving the call of doom for himself and the doom for at least part of his family. And thinking about it more, in a way the one other person who does a clear and persistent wrong in the film is destroyed, in Sy Abelman. And now the sign to me is while Larry suffered a car crash at the same time, he was not hurt, as he was a good man, unlike Sy, who was a bad man and faced the consequences for it. In the ending, Larry finally becomes a bad man and suffers for it. At least that's my two cents. 

Louis Morgan said...

Tony:

Properly deleted because Larry David is Steinbrenner and not sure about the real man's comedic timing in this scene. I will say though the bit of Elaine becoming overbearing from behind is a good one, but I can see why these were all taken out. 

Luke:

As previously stated, I can't take Thrones as partial because so much of the good seasons are still build up to something, something that will never be, making the whole thing rotten to a certain extent. 

Ytrewq:

Cage looks like he's having fun, but looks derivative and a bit cheap looking. 

Tony:

I'll admit it is tough to breakdown a top 25, only because I almost have to figure out what my formula would be, as there are a few shows that were great throughout but a lot of great shows had horrible episodes, however with something like the Simpsons it technically is less detrimental than say Game of Thrones since the bad episodes don't change the good episodes for the former, but the latter they do. I guess I'd prefer say maybe the top 25 seasons of TV, which I think is a fairer metric

Pfeiffer - (Her sexiness certainly oozes into even a cartoon, and I do love though how she kind of uses it to wholly play her Homer, so she's not just sexy but also fun, making her seem truly ideal for Homer as a temptation.)

Ryder - (Very convincing in terms of selling the age of the character, though kind of a straightforward character I do like the nuance she does bring in showing her sort of accidental superiority.)

D'Angelo - (A very earnest performance honestly, and brings a great deal of life to her work, which is actually fairly in-depth in making her more than a seductress. You sense in that she brings meaning to her interest in Homer, and is more than a one-note character.)

Woods - (Although "hey it's so and so" became a horrible trait of guest spots later on, Woods is basically the exception to the rule. As his work overly identifies itself and he is a great voice actor by knowing to bring variety to the delivery itself, which he does here. No line is exactly straight and manages to talk around them to give them so much character. I especially love his intensity with getting his delivery right with Jimbo or his ire towards his microwave cheese.)

Waters - (I think he gives a fine performance in terms of just bringing an honesty to the work, and I suppose he does succeed as making John, a person oddly enough, even if the episode is all set up as "he's gay", and that is the defining trait, but Waters I think goes a little further with it.)

DeVito - (I mean great work as it isn't about being DeVito rather honestly Herb, who actually is a more dramatic character in a lot of ways strangely enough, and he does well in bringing a bit more substance to the role.)

Louis Morgan said...


Anonymous:

Cox (From Succession unless specific otherwise):

1. You are Not Serious People
2. Boar on the Floor
3. "I have you beat"
4. ATN speech
5. Final plead - Corialoanius
6. The vote
7. "You're not a killer"
8. Roast Me
9. Talk with Bodyguard on his Birthday
10. Cutting Shiv down after the shareholding meeting
11. Favorite Shakespeare Quote
12. Taking Kendall back in.
13. "I'm Back"
14. Argument with Ewan
15. Meeting Hannibal - Manhunter
16. Giving up - Corialoanius
17. Only I get to be mean to Frank
18. Phone call with Hannibal - Manhunter
19. "I am ashamed of myself" - L.I.E
20. Ending - The Escapist
21. Final Monologue - 25th Hour
22. Reacting to Roman's Dick Pick
23. Strategy for talking to the Pierce Family
24. "Is that you Wolverine?" - X-2
25. Meeting with the family - Corialoanius
26. The conversation afterwards - Adaptation
27. Talking to Howie - L.I.E
28. Asking about Kendall, after his possible suicide attempt
29. Meeting the counselor
30. Tom Eats his Chicken

Robert MacFarlane said...

Did you finish The Great yet? If so, what were your thoughts on the final scene of the season?

Tony Kim said...

Louis: Do you often rewatch classic Simpsons episodes, and do you ever watch a newer (as in, from the 2010s onward) episode from time to time?

Tony Kim said...

Louis: Your favourite episode from each of the first 13 seasons of The Simpsons?

Shaggy Rogers said...

Hey guys
Talk about your bets on Louis' Top 5 Best Score:
1. Up
2. Bright Star
3. Moon
4. Coraline
5. Fantastic Mr Fox

And what are your ranks?

Ytrewq Wertyq said...

Louis: Your 10 best Jack Black moments.

Marcus said...

Louis: Was Macfadyen's Season 2 performance the factor that propped him over Jeremy Strong in your Succession cast ranking?

Louis Morgan said...

Robert:

I did today, and loved the final scene which is perhaps the most anachronistic in the series (filled with them purposefully) from her shorter hair, the song, and the dance itself. And I loved it all perfect in terms of symbolically representing Catherine completely owning her choices and embracing her attempt to modernize, but even more so just the joy of Fanning sheer jubilation in her dance, though with that final moment where we do see the glint of grief one more time. An amazing ending to fantastic season.

Tony:

Less frequently than I used to, though I do now and again on occasion. I don't watch newer episodes, except occasionally when people say "this one's good" to which I always disagree.

1: The Call of the Simpsons
2: Three Men and a Comic Book
3: Treehouse of Horror II
4: Last Exit to Springfield
5: Homer Loves Flanders
6: Homer Badman
7: Homer the Smithers
8: Homer's Enemy
9: The City of New York Vs. Homer Simpson
10: Mayored to the Mob
11: Guess Who's Coming to Criticize Dinner?
12: Trilogy of Error
13: Papa's Got a Brand New Badge

Ytrewq:

1. Cross-examination - Bernie
2. Interrogation - Bernie
3. Murder - Bernie
4. America Song - The Polka King
5. Prep for a funeral - Bernie
6. Opening - King Kong
7. Performance - High Fidelity
8. Keeping Jack on the Ship - King Kong
9. His mother-in-law standing up for him - The Polka King
10. Wolfman Jack - Weird

Luke Higham said...

Louis: Overall Thoughts on The Great Season 3 and thoughts on your top 6 performers.

Robert MacFarlane said...

Luke: Believe me, it’s hard to choose just six from this season.

Luke Higham said...

Okay, Ten. :)

Louis Morgan said...

Marcus:

Well it isn't a matter of averages.

Luke:

The overall season was wonderful, and took a big swing, pulling a Succession rather than a Barry, where it created a needed and essential change to take the series to greater heights, despite removing what has always been seemingly seemed a key ingredient. While the first half was a wonderful, trying to get along after what happened last season, the second half was true chaos, in the best of ways however, throwing every situation and dynamic into a crazed mixture that somehow came out brilliantly, hilariously and actually rather emotionally.

1. Elle Fanning
2. Gwilym Lee
3. Freddie Fox
4. Belinda Bromilow
5. Adam Godley
6. Douglas Hodge
7. Phoebe Fox
8. Nicholas Hoult
9. Charity Wakefield
10. Jacob Fortune-Lloyd

Though also really enjoyed Jason Isaacs and Grace Molony.

Luke Higham said...

Louis: Thoughts on Isaacs, Molony, Fortune-Lloyd, Wakefield, Hoult and Fox. I Will ask for the top 6 tomorrow.

Calvin Law said...

I saw Monster, which isn't quite perfect Kore-eda (a few extraneous/overplayed story beats), but its structure and emotional backbone really builds to something quite special by the end. Great ensemble all around, especially the kids.

Tony Kim said...

Louis: Your thoughts on Mayored to the Mob, Guess Who's Coming to Criticize Dinner?, Trilogy of Error, and Papa's Got a Brand New Badge?

Matthew Montada said...

Calvin: ratings for the cast of Monster?

Anonymous said...

Louis: Your top 10 matthew macfadyen, kieran culkin and sarah snook acting moments

Tony Kim said...

Louis: Do you happen to recall which latter-day Simpsons episodes you saw after they were praised?

Calvin Law said...

Matthew:

Ando - 4
Nagayama - 4.5
Kurokawa - 4.5
Hiiragi - 4
Tanaka - 3.5

Tony Kim said...
This comment has been removed by the author.
Tony Kim said...

Louis: Your thoughts on Behind the Laughter, Simpson Safari, and HOMR?

Tahmeed Chowdhury said...

Louis: Could I have your thoughts on the following scenes from Harakiri:

Duels with the "executioners"
Hanshiro finishes his story (Nakadai's laugh at the end is some of the greatest acting I've ever seen)
Ending

8000S said...

Louis: Your thoughts on these episodes from Beast Wars.

The Trigger
Law of the Jungle
Coming of the Fuzors
Maximal No More

Anonymous said...

I got to see some recent movies starring Tatsuya Nakadai. Performances that stand out the most are: Haru’s Journey, Lear on the Shore and The Return. Hopefully someday Louis and all of you will see the movies because they are worth the reviews.

Matt Mustin said...

RIP Treat Williams.

Luke Higham said...

RIP Treat Williams

RatedRStar said...

RIP Treat Williams

Anonymous said...

RIP Treat Williams

Maciej said...

RIP Trea Williams

8000S said...

R.I.P. Treat Williams.

Luke Higham said...

RIP Cormac McCarthy

Ytrewq Wertyq said...

RIP Treat Williams and Cormac McCarthy.

Emi Grant said...

R.I.P. Treat Williams & Cormac McCarthy

Tony Kim said...

RIP Cormac McCarthy and Treat Williams.

Emi Grant said...

So, I just finished watching Beau is Afraid and if you guys don't mind me, I'm gonna have a rant and a half about it because this is a slam dunk winner for my least favorite movie of this year and possibly this decade.

Now, I'll admit, I didn't come to see it with the most positive mindset. Initially planning it to be a bit of a hate-watch rather than openly wanting to give it a fair chance to surprise me after the frustrating experience of Hereditary and the dreadfully boring slog of Midsommar.

Having read his original 2014 draft of the screenplay a couple of months ago, I knew it was gonna be a miserable experience to watch as his story is nothing, but a delirious wank-fest of self-loathing and mommy issues that desperately tries to pass itself as arthouse "sUrReAlIsm". So, I was somewhat excited in a cynical sense to start the movie.

Then it got boring after the first 20 or so minutes, which were far more interesting to read about on his 2014 screenplay. I gotta say, it is genuinely impressive how the end result is a far more mundane, plodding and above all stupid than the already nonsensical original draft. Any sense of anxiety or urgency of that first act just came off as laborious antagonism, and mind you, a great chunk of the original draft and the story itself is already unorganic antagonism (that genuinely gave me a new appreciation for A Serious Man all of a sudden), but now it's not even exciting in any way, shape or form. (1/2)

Emi Grant said...

Sticking to the screenplay for a second, you'd be surprised at how the end result wipes its ass with the only bits that resembled any heart whatsoever on the story and how the only remotely enjoyable batshit moments of the second act were reduced to an aggressively benign 3 minutes.

On top of that, the set-up for a revelation later in the story is made all the more tedious with a couple of flashbacks that were nothing but unnatural as written, performed and directed as opposed to the far simpler backstory that was implied on the 2014 draft. The only thing I'll give an edge to the end result is on the new ending which, while still profoundly stupid and tedious on its metaphoric self-seriousness, was at least not the wet-fart of a punchline of the first draft.

Now, am I possibly being unfair to the movie considering there's a chance cuts had to be made so that the whole thing could fit in under 3 hours? Perhaps, but then, there's this brilliant idea: HOW ABOUT NOT MAKING IT 3 FUCKING HOURS LONG!?!? The original 2014 draft is 120 pages long, this has NO BUSINESS being extended to such frustrating lengths. The story, which I don't even believe works, can be told in a neat 2 hours. WHY did it have to be so long?

The only thing that is more befuddling than the pedantic end result is why people are praising this. Yes, we're all allowed to our own opinions, but I just can't fathom any enjoyment out of this intensely pretentious and uninspiring exercise. Do people feel obligated to say it's good because they liked the first 2 films Aster made? Do people genuinely find the insipid storytelling to be profound? Did anyone actually feel rejuvenated after watching this? Because I find that unbelievable, on the most literal sense.

This was just god-awful and I don't even feel rewarded for detesting it like I knew I would after reading the screenplay. I just feel empty and disappointed. I don't think I'll bother with anything Aster makes on the next decade or so, and I wouldn't even recommend my worst enemy to bother with this one either. (2/2)

Louis, maybe I'm hyperbolic with all of this, but if you decide giving this a chance to possibly review Phoenix, just keep in mind this is another The House That Jack Built scenario. Only instead of repetitive edgy guano it's pointless neurotic nonsense.

Emi Grant said...

Sorry if those comments come off as self-important sardonic scorn. I just wanted to get that out of my system.

Rating for what they're worth:

Phoenix: 4
Luponne: 2.5
Ryan: 3 (she has one great reaction, but her role is nonsense that doesn't even get the runtime to function on its original purpose)
Lane: 3
Rogers: 2
Menochet: 2.5
Posey: 2.5
Henderson: 3 (he was having fun)

Bill Hader has an unexpectedly solid cameo.

Matt Mustin said...

RIP Cormac McCarthy and John Romita Sr.

Louis Morgan said...

Luke:

Don't have too much to add to Fox (Phoebe), Hoult, or Wakefield, except all continued to excel within what already made their performances strong.

Molony - (Her performance as really the act with what Freddie Fox is doing, I thought managed to continue what was initially a very specific intense note, and becoming more playful. In her performance that is a reserved often comical ambition mixed with moments of frustration against Fox's tomfoolery. Creating the sort of more intense and determined side of it. Although also with her scenes with Hodge, where I enjoyed her sort of combination where playing the part of the sort of lost maiden looking for the "Strong man" mixed in with the odd honesty and curiosity.)

Fortune-Lloyd - (A nearly one-note performance that is the best kind of one-note performance, in that his one note of pompous overconfidence is consistently hilarious and finds the right modulations with that note to play off the various characters really for maximum comedy.)

Isaacs - (Last season was ideal casting so I quite enjoyed that we got more of him and properly lives up to the reputation within the series of Peter the Great. As he's overflowing with this caustic control and confidence of a man wholly totally owns his place, though owning it in a purposefully rather blithe and always crushing way. He plays up the idea of the completely unashamed power-wielding aristocrat who makes his distaste known and doesn't hide a single bit of himself. A great guest spot performance, that will no doubt not be recognized in favor of some random SNL hosting job.)

Tony:

Behind the Laughter - (I mean the episode was right that "The Simpsons are going to Delaware" should've marked the last season and this probably could've been a final, even if I wouldn't love it as a finale. And it's one where I do enjoy some bits here and there, overall though I just don't think it is that funny therefore it kind of isn't anything else either.)

Simpson Safari - (The former president as the steward is kind of funny as is "it's a flower", otherwise the episode falls into just an extremely messy in every regard. To get them to Africa, to suddenly come across "Not Jane Goodall" and zero emotional stakes of any kind.)

HOMR - (An episode that does attempt the emotional stakes that I do say is so often missing from these later episodes, though that doesn't mean it is a great example of such, I wouldn't say it is and falls a little bit too much into Lisa being written as an adult rather a smart kid, like compare this episode to Lisa the Greek and you'll see a very different character. I think that does limit what the episode has to offer. Having said that, there are some funny bits of Homer acting smart, though I wouldn't say the bits are that great either.)

Louis Morgan said...

Tony:

Mayored - (A ridiculous plot, but one that is very funny. Hamill's cameo is definitely gratuitous but plays into it in the right way, particularly him playing Nathan Detroit as Luke Skywalker. But just hilarious bits throughout, from Hamill's performance as the bodyguard, bodyguard school in general, to the secret of the milk, the quick knockout grip, and of course everything in the final showdown "give me that knife" "No, it's mine".)

Guess - (Another ridiculous plot but at least the flow is somewhat natural from each point. From Homer making everyone overweight, to just then becoming overly critical and the whole death plot that is funny in its ludicrousness.)

Trilogy of Error - (Built largely off the plotting here, but it actually is fun in the clever ways the stories piece and build on one another. Particularly enjoy Linguo's kind of honestly sad demise.)

Papa's Got a Brand New Badge - (Technically a redo of Homer the Vigilante, but enough funny bits once again with becoming a home security then coming afoul of Fat Tony. Particularly Fat Tony naming every Italian stereotype being a broken dream.)

I probably could figure out which ones, but eh...

Anonymous:

MacFadyen:

1. Rejecting the threesome
2. Clearing the Air
3. Hurtful roleplay
4. "I won't give up what's mine"
5. First Spiros speech
6. Come with me?
7. Thinking of prison all the time
8. Senate fail
9. The morning meeting - Pride & Prejudice
10. Explanation of self - Pride & Prejudice

Though I could much deeper with him.

Culkin:

1. Funeral Breakdown
2. Verbal attack on Mattsson
3. Call after firing Gerry
4. Firing Gerry the second time
5. Dick pick gone wrong
6. Couldn't have been him
7. Rocket launch Fail
8. Sibling Night snack
9. Epic fail - Fargo
10. Kicking Scott out - Scott Pilgrim vs. The World

Snook:

1. Clearing the Air
2. Roleplay gone wrong
3. Final vote
4. Sibling night snack
5. Making a deal for her
6. Season 3 end
7. Call to Logan on the plane
8. Eulogy
9. Falling in Love with herself - Predestination
10. First meeting at the bar - Predestination

Louis Morgan said...

Tahmeed:

The duels are all brilliantly photographed duels that each carry with them such intensity and refined power to them. What's also great though is how each defeat is technically non violent and rather just humiliation.

Finishing the story is indeed amazing acting from Nakadai, as despite being the man about to die, is in fact laying down a final sentencing while not just condemning the lord but the very institute with such power, that is otherworldly.

The ending is an altogether epic fight, as Hanshiro inflicts some final symbolic attack on the Lord and all he represents, and basically the seppuku with the gunshot being this double insult upon the tradition, while also proving the lord a liar, while also showing himself to be fully sincere in his initial request. The ending though also shows that as powerful of an act as it is, it can easily be wiped away by the system that supports injustice and false sense of "honor". Just thinking about these scenes reminds me again of what a masterpiece Harakiri is.

8000's:

The Trigger - (The Trigger is part of an essential switch to more progressive choices in the story, from amping up the lore to having specific changes in character and making the move to serialized storytelling. Although other episodes would be greater in this change, this was a notable progression as such.)

Law of the Jungle - (Kind of an interesting philosophical episode, wouldn't say it is perfect as such but notable that it attempted such things, with it almost built upon character interaction.)

Coming of the Fuzors - (Terrific in terms of introducing new characters effectively but also keeping the stakes raised from where they ended in the previous season. The finale is particularly great in terms of the escape from the no way out situation.)

Maximal No More - (I mean any Dinobot focused episode will be pretty good, and this one is no exception in honestly dealing with his betrayal that is earned on a character level, and helps to earn the best episode in Code of Hero.)

Luke Higham said...

Louis: Thoughts on Hodge, Godley, Bromilow, Fox, Lee and Fanning.

Louis Morgan said...

Don't have anything to add except what has previously been stated on their work.

Marcus said...

Louis: Your thoughts on the two scenes from the Succession finale where Kendall ends up injuring Roman?